The core of frei:raum is a fully interactive equalizer with state of the art mastering quality. Each band can either be used in classical mode for manual EQing, or in the unique “smart” mode, offering automatic detection and removal of problematic resonances in different frequency bands.
Acoustica 31 Band EQ is a 1/3-octave graphic equalizer offering precise control over frequency content. Slider range is adjustable from 6dB to 24dB of boost and cut, and many presets are included to get you started.
The PSEQ-1 Vacuum Tube Passive EQ faithfully replicates the sweet and warm “undoctored” tonality of passive EQ circuits. Even with large boosts at narrow-Q settings, the PSEQ-1 Vacuum Tube Passive EQ avoids the harshness that often plagues conventional active EQ topologies. The perfect EQ for individual channels or two- channel final mix busses.
VBE-1 is vacuum tube analog bass enhancer. If basic equalization does not bring enough of low end massive fatness and warmth to your mix, it is time to test new Pentode VBE-1 that will add real vacuum tube warmth, saturation and drive to your baselines and kick drums.
VTC-1 is special analog modeled virtual VST compressor with warm analog, fat pumping and transparent sound. Compared to modern compressors VTC-1 has different inner structure and principle of work: VTC-1 don’t have threshold knob, so you set amount of compression by increasing or decreasing input level same like with old analog tube compressors. Compression amount knob is similar to ratio knob at modern compressors. You can select two curves of compression with switch: significant compression or smooth curve. If you prefer fat/massive sound you can boost input signal of vacuum tubes by turning tube drive knob. If you want some real sounding analog color to your digital records and characteristic yet transparent compression feel free to try demo version of VTC-1.
Perfect for experimental music styles, minimal, psychedelic sounds, chillout, glitch, futuristic movie music, all dance music styles… POD4500 is not delay like you know, it is something totally different. If you like progressive music genres like experimental, minimal, glitch, nu skool dnb, electrohouse, psytrance, chillout or if you are seeking for new original sound don’t waste your time and try DEMO of POD4500.
Up until now, EQ’s were set to a fixed frequency range. In reality, fundamental frequencies and the harmonic series change with the pitch of the instrument or vocal track. This characteristic makes the standard, fixed-frequency EQ less effective when it is used to manipulate the instruments/vocals harmonics. Enter SurferEQ. SurferEQ tracks the pitch of the instrument or a vocal track and can change the EQ frequency accordingly in real-time, making it possible for the first time to naturally control the fundamental frequencies or harmonics of a track. Just set any of the EQ bands to a desired harmonic and watch SurferEQ move with the track, staying always relevant to the music. For over a year, we’ve meticulously developed an accurate, real-time pitch detection engine with virtually no octave errors. There’s no need for endless parameters tweaking. It just works.
The core of frei:raum is a fully interactive equalizer with state of the art mastering quality. Each band can either be used in classical mode for manual EQing, or in the unique “smart” mode, offering automatic detection and removal of problematic resonances in different frequency bands.
Frostbite is a multi-effect plugin featuring Ring Modulator, Feedback, and Freeze modules. It’s aimed at ambience and cinematic music, but can also be used for extreme sonic experiments. The Signal Flow is flexible with 6 different combinations. The Ring Modulator multiplies your input signal with a Sine wave (with frequency up to 4kHz). You can also reduce the high-end with the Low Pass filter. The Feedback module features a delay function (up to 200 samples) which can be modulated by an LFO. The Freeze module features a Freeze effect that can hold the input up to 25 seconds. The Fade Out and High Pass controls can additionally shape the behaviour of the freezed sound.
GuQin is among the few most distinctive and representative classical Chinese instruments ever. The written record of it can be traced back to at least 3,000 years ago. It’s a zither similar to GuZheng, but since GuQin does not have bridges, it is far more versatile in terms of tones and playing techniques, it is also much harder to master. GuQin has a special place in the Chinese history as a symbol of the high-culture of the nobles and intellectuals (Junzi, Superior Man). It’s also seen as the vessel for pursuing harmony. Even Confucius played and taught GuQin. During the last two tumultuous centuries of China, however, GuQin’s tradition was almost extinct. Nowadays the Chinese have resumed the tradition and are trying to revitalize it. GuQin is usually accompanied with a lower-pitched flute. ChineeNanxiao, or some other xiao in ChineeWinds are good choices of companion. The style is usually more personal and inward. In 2003 , GuQin music is recognized as Heritage of Humanity by UNESCO.
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